We are delighted to announce the publication of Afterall issue 26 (Spring 2011), which considers questions related to pedagogy.

The journal opens with Carmen Mörsch‘s typology of gallery education, which steps out of the bind given by Jacques Rancière and Pierre Bourdieu’s respective theoretical positions on teaching. Pedagogy is also key to the work of artists’ collective Group Material. While Alison Green questions the current relevance of activism within art of the ‘social turn’, Claire Grace scrutinises the group’s 1984 Timeline—which focused on the US intervention in South and Central America—to tease out diverse interpretations of postmodernism’s relationship to history.

In contrast to Group Material’s strategies of direct communication, José Díaz Cuyás and Esteban Pujals Geselí look at the work of Isidoro Valcárcel Medina—a four-decade long investigation that explores the limits of literalism and constructivism.

Unpacking the passage from didacticism to enigma, Herman Asselberghs compares Jean-Luc Godard‘s latest work, Film Socialisme, with what is perhaps his most radical film, Le Gai Savoir. And Roger M. Buergel sees in the exhibition display strategies of Lina Bo Bardi an attempt to rediscover the social function of art.

Thom Donovan and Catherine Wood find stillness and a critique of virtuosity in Catherine Sullivan‘s videos and plays, which in their truncated gestures betray a social anxiety; these essays are accompanied by extracts from the screenplay to Sullivan and Farhad Sharmini‘s recent work, The Last Days of British Honduras, dealing with the country’s referendum on independence in 1971.

Andrew Weiner looks to the status of evidence and event brokered by recent film and video work by Harun Farocki, Ian Charlesworth and Rod Dickinson—all of which reflect a preoccupation with contemporary power struggles. Keti Chukhrov surveys the collusion of state and financial power within the Moscow contemporary art scene. Finally, Dieter Roelstraete considers the momentous classificatory project of Dutch Conceptualist Hans Eijkelboom—a pseudoscientific assembly of portraits that captures human diversity in all its ridiculous glory.

Afterall also announces the launch of the MRes Art: Exhibition Studies, part of a new Postgraduate Art Programme at Central Saint Martins. Exhibition Studies will look at art history from the perspective of contemporary art exhibitions, their display and their curatorial strategies.

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